13:00 – Welcome, Maaike Lauwaert (Gerrit Rietveld Academie), Jorinde Seijdel (Studium Generale), Rietveld Uncut

13:15 – I: Out of the bushes at the foot of a volcano

Reading: Part 1. "The Texture of Time" ft. soundtrack from MariaHassabi’s "STAGED".

Screening:"The Kissing Hour" (excerpt, 6m), Anchan/Anna Daučíková, 1997

"Water Diary 03" (excerpt, 6m), Christina Della Giustina, 2004/5

"Queen’s Finger" (3:54m), Anchan/Anna Daučíková, 1998

Drink: “This viscous friend of mine”Bubbly ayran (yogurt, still water, sparkling water, salt)Pickles

Reading: Part 2. "A Signature Truer Than the Name'

Drawings: Exhibition of drawings by Alina Popa, 2018/19

Looping: "Acquabelle" (17:44m), Anchan/Anna Daučíková & Christina Della Giustina, 1995

15:00 - Break

15:15 – II: The following morning, the following night

Reading: Part 3. 'The Gaze, the Spider and the Whale"

Looping: Fragments from "Querelle", Rainer Werner Fassbinder,1982

Drink: “The sky was already turning deep orange”Sunset Lava (orange juice, mango juice, drops of pomegranatesyrup, optional: rum)

Reading: Part 4. "Free Spit, or the Anti-Economy of Dance"

Music and sound-session: Krzysztof Bagiński

17:00 - End

Founded in Amsterdam in 2005, If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution is a women-led art organization dedicated to exploring performance and performativity in contemporary art. We work with artists, researchers, and activists to address the urgencies of the present through the embodied, time-based, and relational languages of performance. Our approach is rooted in intersectional feminisms, queer ecologies, disability justice, and decolonial methodologies. We understand performance not only as an artistic medium but as a mode of inquiry: interdisciplinary, tentacular, and centered on the body as a political tool and living archive.

Sara Giannini is an Italian curator, writer, and educator based in Amsterdam. Since 2020, she has been Programme Curator at the Amsterdam-based organization If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution. Drawing on a background in theatre studies and semiotics, her curatorial practice investigates the entanglements of language and performativity as tools for rethinking dominant modes of knowledge production. Approaching curating as a process-oriented and collaborative practice, her work unfolds across performance, exhibitions, publications, and pedagogy. She is particularly interested in experimental processes and in forms that (try to) resist spectacle, working closely with artists, researchers, and other collaborators over extended periods of time. Her projects often engage with the unseen, the absent, and the occult, as well as with that which is discarded, erased, or forgotten.

Anik Fournier is the curator of archive and research at If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution and teaches contemporary art theory at BEAR Fine Art, ArtEZ University of the Arts (Arnhem, NL). Recent research and writing centred the composite life-form of an artwork, exploring how different archival registers and methodologies afford liveness: a capacity to create affective, relational, and embodied modes of encounter within the archive. Building on this, her current research has turned to the capacities of different bodies of water to register, hold and transmit material histories, questioning what modes of attention, sensing, and interpretation can be developed in order to listen to, create meaning, and learn from water’s archival modalities.

Daniel Blanga Gubbay is a performing arts curator and writer. Since 2018, he has been part of the artistic direction of Kunstenfestivaldesarts in Brussels. He has worked as an educator and independent curator of performance and public programs, including for the last São Paulo Biennial (2025); Yogurt and Other Spaces of Labour (Ashkal Alwan, Beirut, 2021, in collaboration with Zeynep Öz); and Can Nature Revolt? (Manifesta, Palermo, 2018). He holds a PhD from the University of Palermo and is among the founding members of Celador, a space for experimenting with language in Brussels, as well as a member of the artistic committee of the Beirut Art Centre. He teaches regularly, including a weekly class titled Contemporary Salmon at the Brussels Royal Academy of Fine Arts. He writes in various contexts, sometimes publishing under the name Dani—a personal, “night name” in the lineage of artists and queer writers who use a diminutive to signal intimacy, experimentation, and a shift in tone, with the signature becoming a voice more than a label.

Alex Baczynski-Jenkins is an artist and choreographer engaging with queer affect, embodiment and relationality. Through gesture, collectivity, touch and sensuality, his practice unfolds structures and politics of desire. Relationality is present in the dialogical ways in which the work is developed and performed as well as in the materials and poetics it invokes. This includes tracing relations between sensation and sociality, embodied expression and alienation, the textures of everyday experience, the utopian and latent queer histories. He approaches choreography as a way of reflecting on the matter of feeling, perception and collective emergence, while indulging in other ways of experiencing memory, time and change. He is co-founder of Kem, a Warsaw based queer feminist collective focused on choreography, performance and sound at the interface with social practice. Through various experimental formats and community building, Kem engages in critical intimacy and queer pleasure.

Krzysztof Bagiński is an artist and organizer from Poland. He is a co-curator of W Brzask (At Dawn), a series of experimental music shows in Warsaw. As a sound artist, he works closely with choreography and performance.

Alina Popa cared for a place from which it is possible to have artistic consequences, without a total break-up of life and art, of the politics of production and the politics of the product, of oneself as subjectivity and oneself as performance, of the art piece and its framing. She thus found herself at the border between visual arts and performance, the white cube and the black box, writing and theory. She interrupted parties to give lectures, camouflaged life in performances and performances in workshops, chanted geometry as mystical meditation, wrote SF as a documentary gesture, and she intervened, at least once, in a public discussion to talk about jaguars. She was interested in artworks as environments more than in individual works, in mediums with fuzzy borders and spatiotemporal ruses. She founded several "esthetic entities", The Bureau of Melodramatic Research, Unsorcery, Black Hyperbox, Bezna. With Florin Flueras she developed Artworlds - artworks as artworlds. Her work was shown at Fap Sao Paulo, Times Museum Guangzhou, Pratt Manhattan Gallery NY, bak Utrecht, Wing Hong Kong, CCK Buenos Aires, Trafo Budapest, Martin Gropius Bau Berlin, Savvy Contemporary Berlin, MUMOK Vienna, Brut Vienna, DEPO Istanbul, PAF St Erme, CNDB Bucharest, MNAC Bucharest, Salonul de Proiecte Bucharest, Ujazdowski Castle Warsaw, Jardim Equatorial Sao Paulo, Fabrica de Pensule Cluj, Teatru-Spălătorie Chișinău, House of Drama Oslo, Het Bos Antwerp, Theater Rampe Stuttgart, Salzburger Kunstverein, Suprainfinit Bucharest etc.

Anchan/Anna Daučíková lives and works in Prague. Alongside their artistic work, they are a co-founder and activist in several women’s NGOs, most notably the Slovak feminist organisation and journal Aspekt, and in the 1990s they have been a spokesperson for LGBTQ+ rights in Slovakia. Their academic career includes teaching at the Academy of Fine Arts and Design in Bratislava and the Academy of Fine Arts in Prague. In recent years Daučíková’s work has been exhibited at Tate Modern, East Tank, London; Raven Row, London; Jam Factory Art Center, Lviv; National Gallery Prague and KW Institute for Contemporary Art, Berlin, among others. 

Christina Della Giustina is an Amsterdam-based artist. She completed her doctoral studies at Slade School of Fine Art, University College London and is lecturer and course leader of the Master of Fine Art at HKU, Utrecht. Della Giustina studied Philosophy, Art History and Linguistics at University Zürich, and Fine Art and Political Theory at the Jan van Eyck Academie, Maastricht. Her artistic research practice deals with relationships and generates trans-disciplinary collaborations across scientific, spiritual, and sound-based modes of working. In her sustained collaborations, Della Giustina works with sound, light, performance, composition, improvisation, drawing and writing. Her extended research project you are variations (2011 —19) studies the arborescent water cycle. From 2021 —24 Della Giustina worked together with scientific, artistic and indigenous researchers on ecological fire practices. In recent years Della Giustina’s work has been exhibited at Haus der Kulturen der Welt, Berlin; Villa Šaloun, Prague; puntWG, Amsterdam, TENT, Rotterdam; Museum de Fundatie, Zwolle and Rangoli Metro Art Center, Bengaluru, among others.